With an all-star, ensemble cast, the film sported impressive production values, perhaps most notably the set, which consisted of a brick for brick recreation of several blocks of 1906 Hong Kong.

The film is essentially split into two halves, with the first being drama-heavy and ultimately responsible for setting the stakes, and the second being action-heavy, taking all the pre-established pieces of the plot from the first half and running wild them non-stop until the final reel.

While occasionally weighed-down by protracted bouts of melodrama, particularly in the film’s action-heavy second half, the film saves itself by providing an impressive level of characterization to what at first glance would appear to be an overwhelmingly bloated cast of characters.

Despite my ignorance in regards to pronunciation and recognition of Chinese names, I never found myself puzzled as to who was who or how every character related to one another.

Donnie Yen has a small but important role as a down-on-his-luck gambler seeking redemption for his past sins.

The role is minimal, with Donnie Yen being used primarily as an action element among the players, however he does have some truly effective dramatic moments.

The highlight of his performance, and perhaps the entire film however, is of course, a fight:

The above bout between Donnie Yen and former MMA champion, Cung Le, was reportedly re-shot and re-choreographed sometime after filming had officially wrapped.

Apparently Mr. Yen was unhappy with his performance, and thusly organized a reshoot, without supplemental pay or benefits.

The result is a fight that, while inspired, and certainly beyond the norm in terms of choreography, is somewhat uneven and ultimately, unbalanced.

The parkour element of the fight was brief, but effective, with much of the camerawork being downright spectacular, particularly when use of steadicam is used to weave between bystanders.

The sparring between the two players is crisp and on point for the most part, with great sound effects and music to back it up, but the MMA style joint locks and grappling seem largely out of place given the time period.

Though I’ve said before that wuxia isn’t really my thing, the fact of the matter is, that if one is going to incorporate fantastical wirework into a film, it’s implementation should be consistent rather than sporadic.

In all, the fight was a highlight for this film, however it doesn’t rank very high on Donnie Yen’s resume.

And as previously established, it's a pretty long resume. Yes, they boned.

Donnie Yen’s next film, also released in 2009, was the 90’s wuxia throwback, 14 Blades.

I have not seen this film, so I feel I have no right to comment on it in detail, however I will say this:

I have very little desire to see this film anyway.

In fact there are many films Donnie Yen has made, particularly in the 2000’s, that I have almost no interest in seeing.

As I mentioned in previous articles in this blog, Wilson Yip was a blessing on Donnie Yen’s career.

In between the classics that Yip and Yen were cranking out in the late 2000’s, Donnie Yen also released a number of smaller, poorly regarded films, most of which were, you guessed it: wuxia films.

I haven’t seen any of these films, including 14 Blades, but to my knowledge they have all received poor reviews, and while impressive to look at in some cases, and not terrible films in their own right, they simply don’t offer the Donnie Yen experience I’m looking for.

THIS on the other hand.... No, wait, this sucked too...

Despite being of the relatively advanced age of 46, Mr. Yen remains the top dog in terms of Hong Kong action cinema, with many of his upcoming films having him cast in action-heavy roles.

As I type this, Donnie Yen has more than 3 major films in the works, not the least of which being Ip Man 2, which was recently released in theaters.

The film reunites nearly all of the principle cast from the previous entry in the series, however this time the story has moved to 1930’s Hong Kong, and includes Sammo Hung in a co-starring role as an overbearing Hung Gar master at odds with Ip Man.

Highlights in the film look to be a long overdue rematch between Yen and Hung following the impressive nature of their brawl in SPL, as well as what appears to be Sammo and Donnie pitting their form based Hung Gar and Wing Chun against English screen-fighter, Darren Shahlavi‘s more fluid Western boxing.

Sadly, from what I’ve read, Fan Siu Wong‘s role in the film is very small, and totally devoid of action.

A shame really, as I was very impressed by his performance in the first film, both as an actor and a combatant.

I call the film bizarre due to the fact that the protagonist of the first film, Chen Zhen, was supposed to have gone down in a hail of gunfire at the end of Lee’s film, and yet, based on recent teaser footage, the sequel appears to have Yen cast not only as the same character, but as a masked vigilante practitioner of parkour.
Though I can’t say my hopes are up for The Return of Chen Zhen, it’s this continued process of adaptation and innovation that, in my eyes, keeps Mr. Yen’s performances from going stale.

That, and lots and lots of hair spray.

Despite being discovered in the 80’s by one of the great directors and choreographers of our time, Yuen Woo Ping, Donnie Yen would not rise to prominence in the industry until more than a decade later, well after he had already begun to direct and choreograph his own films.

Unlike so many screen-fighters, in particular Jet Li, Donnie Yen has proven himself to be a student of the game.

Beyond being a fantastic martial artist, he has also displayed a remarkable sense of awareness in regards the kinetics of filmmaking.

Truly, particularly in recent years, he has come to embody the role not of screen-fighter, but that of a physical actor.

Some men, when placed into a fight scene, do nothing but hit their marks, keep to the beat, and wow with their physical prowess.

Donnie Yen does all of these things while injecting a sense of dramatic weight to his actions.

You care when he throws his punches and more importantly, you know why he chose to throw the punch the way he did.

Donnie Yen is of the rare breed of men that can not only teach, but also do.

Not only that, he is of the even rarer breed that can do both well.

At 46 I understand that Donnie Yen most likely has maybe 3-4 years left in him to produce truly great physical performances in his career.

Unlike Jackie Chan however, I believe Donnie Yen’s vanity and pride will keep him from stretching his fighting career beyond his means.

It saddens me to know that I was among those that overlooked Mr. Yen until such a late stage in his career, only to find that he was already beginning down the road to the inevitable end of his career.

I guess I should look at it not as me having missed the first 17 years of Yen’s career, but as me having witnessed the past 9, which is more than most can say.

I look forward to whatever the Mr. Yen is able to produce in the coming years.

Here’s hoping we’ll all be “wowed” one last time by the greatness that truly is, Donnie Yen.

Thank you to all who took the time to read this epic tribute of all I know and love about Donnie Yen!

The other went to the production itself, as it just happened to be the award for Best Film.

While much of the film’s success could be attributed to Chinese nationalism (the plot concerns the Japanese occupation of China) and passion for martial arts culture, it’s hard to deny that the film is a solid contribution to the action-drama genre.

Production of Ip Man brought Donnie Yen and Sammo Hung together for the second time in their careers.

This time around however, Hung would serve as fight choreographer, bringing his unerring cinematographic eye and untold years of experience to the production.

The above sequence, from the film in which Sammo Hung directed, choreographed, and co-starred, Wheels on Meals, (the third film to include the Peking Opera Trio of Hung, Jackie Chan and Yuen Biao) showcases the first of two epic battles between Jackie Chan, and American kickboxer, Benny “The Jet” Urquidez. This sequence is widely regarded as one of the finest sequences in screen fighting history, and is a testament to Mr. Hung’s skills behind the camera.

How’s that for credentials?

Seriously, do NOT fuck with this man.

Hung’s attention to detail and penchant for injecting his fights with realistic passion and violence made him perfect for the job.

Ip Man gave Hung the opportunity to explore and put on display a number of different martial arts, most notably, Wing Chun.

The simple fact that he was able to convey each of these styles largely through pure physical expression, rather than superfluous exposition, is a testament to Mr. Hung’s skills as a choreographer.

Hiroyuki Ikeuchi’s General Miura, as well as the other Japanese characters, all include the straight punches and mechanical blocking motions of Karate.

Mr. Hung managed to communicate all of this through nothing but body language.

"So... You wanna' like, do it?"

It’s interesting to note that, stylistically speaking, Donnie Yen, while versatile and athletic, is not really the first person that came to my mind in casting a master of Wing Chun.

For one thing, Mr. Yen has never studied Wing Chun, and for another, the fighting style he employed in most of his films prior to this is contrary to the principles of Wing Chun in that it utilizes wide, flashy kicks to the head, techniques Wing Chun places little emphasis on.

But that was the old Donnie Yen, not the old Donnie Yen.

As you can plainly see, Mr. Yen managed to get the hang of Wing Chun pretty handily.

Despite this, another challenge for Mr. Yen, and Mr. Hung for that matter, was in staging and planning the choreography in such a way that it matched the tone of every scene.

The sequence above took place at the end of the first half of the film, during which the tone is bright and lively, and the drama is largely restricted to standard genre fare I.E. squabbles between rival martial arts schools and principles.

The sequence below however, takes place midway through the second half of Ip Man, within which the tone, and color palette for that matter, become engulfed with darkness. As a result, the choreography becomes harsher, more violent, and altogether more intense. Even the soundtrack reflects this.

A tip of the hat to Mr. Yen and Mr. Hung… and a pat on the back to all those who may have been injured during the filming of this sequence.

Regardless of how much praise I shower upon it, Ip Man is not a great film.

It is however, a great kung fu movie.

Every cliche and trope you would expect to find in an entry from the genre is present here in some form, and I think that was the point.

Ip Man doesn’t attempt to reinvent the wheel, it merely tries it’s best to give it a spit shine and more importantly, do it with heart.

Sure, the story can be hokie at times.

Sure, the script was largely forgettable.

I’d sooner accept both of those shortcomings in exchange for a decent film with a handful of scenes where Donnie Yen beats people like a fucking drum.

You know you'd buy it...

End serious moment.

Well okay, maybe that wasn’t all that serious, but hey, I tried.

Check back for the exciting conclusion to my MASSIVE tribute to Donnie Yen, in “Part VII – Mr. Yen to the Future and Beyond!”

Outside of his surgically altered face, and sculpted physique, his perfectionist tendencies and picture perfect form, both in front of and behind the camera, have blessed him with a colorful film career spanning 4 decades… and a super model wife.

Okay, things were cool at first, but now I'm starting to hate this guy a little.

Oh yeah, did I mention that he’s also a concert pianist, as well as a former breakdancer?

Okay, well maybe that whole breakdancing thing didn’t pan out so well, but hey, nobodies’ perfect.

The man is a living legend in the art of cinematic fight crafting and performance, and yet despite this, for most of his career he was regarded as sort of a middle-tier star in Hong Kong cinema.

In some ways its easy to see why though.

At age 46 he is only just now learning how to act, and in the few instances he set out to direct and star in his own films, the results were, how shall we say… ASS.

"Why did I let you convince me to be in this shitty movie? Did you really have to film every fight like it was straight out of Dragonball Z!?"

Combined with the fact that some of his contemporaries just happened to be Jackie ChanandJet Li, Donnie Yen’s career was largely overlooked early on.

Oh yeah, and he also got to beat Robin Shou’s ass on at least one occasion.

THAT'S RIGHT! GOT YOUR ASS BEAT, LIU KANG!

His pair of battles against Jet Li in Once Upon a Time In China II as the villainous General Lan are often considered the scenes that put him on map among Chinese action film enthusiasts. In fact, the reception for these fights was so high in China, that the public anticipation of a “rematch” between the two figured into the promotion of the film, Hero.

Personally, I felt these fights were technically well crafted, but have never really been considered some of my favorites. Too many camera tricks and fantastical wire gimmickry for my tastes.

As you can probably tell, I’m not really a traditional wuxia enthusiast.

... Although this is pretty fucking cool.

Well, that concludes the introductory segment to my MASSIVE tribute (not innuendo, I swear) to the apex of pimp himself, Donnie Yen.